Tom Huddleston

Scorsese never digs too deeply under the skin of these reprehensible playboy douchebags, and there are times where the swooping photography, smash-and-grab editing and toe-tapping soundtrack conspire to almost – almost – make us like them. But when the film’s cylinders are firing, it’s impossible not to be dragged along.

The Landlord succeeds thanks to terrific performances, political nous, flawless photography from Gordon Willis, a handful of sublimely witty moments and an overall sense of rebellious fun.

This is a deeply silly, extremely noisy and sometimes impenetrable action movie that’s drowning in CGI, wild overacting and mullets. And it’s enormously entertaining.

This intimate documentary about the leftfield American filmmaker David Lynch is insightful and absorbing.

As a procedural study, Night Moves is undeniably effective: The buildup is slow, painstaking and intense, the fallout inevitable but still shocking...But the soul is somehow missing.

What a stupendously entertaining ride it is. Director and former stuntman Chad Stahelski is back in the director’s chair, and he knows his craft inside out: every punch lands hard, every gunshot roars like thunder.

A valuable document.

At once an investigation, a polemic and, in its final sequences, a tribute to human endurance. A remarkable film.

A nagging sense of incompleteness means that Civil War isn’t quite as satisfying as the first ‘Avengers’ (it’s all building up to the ‘Infinity War’ two-parter in 2018). But overall, this is Marvel at their best: a pacey, intelligent super-sized blockbuster and a roaringly fun night out.

A ferociously paced, wildly silly pastiche of those comic-book blockbusters we’re all getting a bit sick of.

It’s most fascinating when dealing with the fallout from her divorce from first husband Petter Lindstrom and very public affair with director Roberto Rosselini – a reminder of how much gossip, scandal and public opinion were at the heart of Hollywood long before Twitter.

Rogue Nation is an uneven film.

Overall this is a terrifically watchable, heartfelt documentary and a valuable glimpse into a singular life.

Low key and occasionally frustrating it may be, but Computer Chess is a supremely intelligent, beautifully constructed film, interweaving comedy and character, satire and subtext, and loaded with more ideas than some filmmakers manage in a lifetime.

If self-aware, ultra-arch arthousery isn’t your bag, give it a miss. If you’re looking for a good, weird, often very funny time, don’t miss it.

The photography is starkly lovely, the slow drip of information is smartly handled and the central performances are appealingly ambiguous.

There’s wit, integrity and insight here, but it cries out for a lighter touch.

This is a film built on sensation, misdirection and randomness. The result can be maddeningly obtuse, but it’s also breathtakingly lovely and genuinely unsettling.

What emerges is a sympathetic portrait of a genuinely idiosyncratic, outrageous individual whose towering musical talent never stood a chance against his rampaging personal demons.

A lusty ballad of love and heartbreak sung with passion and power, and just a handful of off-key notes.

The blend of humor, pathos and wall-crawling antics is perfectly judged. After a handful of overblown misfires, Marvel appears to have rediscovered its heart.

With gorgeously crisp photography and pitch-perfect performances from the two leads, this is one of the most intriguing and thoughtful American films of the year.

Ghost Protocol plays it strictly by the book: the characters are bland, the plot is over-familiar and the action sequences are resolutely old school. But animator Bird relishes the chance to play with real people.

Any film that teams up gruffer-than-thou icons Shepard and Johnson is bound to go heavy on the testosterone, but Mickle undercuts all this strident manliness with a rich vein of self-mocking wit and paternal angst.

75 minutes isn’t really long enough to fully examine the Sky Ladder project, let alone an incident-packed artistic career. Still, as an introduction, this is entirely serviceable.

Kooler is a very likeable lead, and Michal’s battles – with loneliness, ageing, family, religious doubt and her own indecision – are smartly, sympathetically sketched by writer-director Rama Burshtein.

This is a confident, terrifically enjoyable film, superbly written, shot and performed.

As a portrait of power gained and lost, of unchecked self-absorption and what drives people like Assange to do what they do, it’s absolutely fascinating. Watching it feels like history unfolding in close-up.